NGV International, 180 St Kilda Road, Melbourne, Australia
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Drawing parallels between educational models and contemporary art, Emily Floyd’s bold and colourful works generate spaces for social engagement and interaction whilst provoking discussions about contemporary social, cultural and political ideas.
Fondazione HangarBicocca, Via Chiese 2, 20126 Milano, Italy
Condorelli's exhibition of sculpture, installation, video and text is imagined as a context for the co-existence of objects, participants and the public, creating a new space for doing and thinking.
Modern Art Oxford, 30 Pembroke Street, Oxford, UK OX1 1BP
What comes through in the exhibition more than philosophical or aesthetic similarities is an endless pursuit of elusive beauty through artistic practice. Review by Jaime Marie Davis
Hunterian Art Gallery, University of Glasgow, University Avenue, Glasgow G12 8QQ, Glasgow, G12 8QQ, Scotland
Caught here are Skaer’s investigations into the essence of things and realities: intuitive, organic thought articulated in exquisite structures and meticulous processes. Review by Valerie Norris
Jerwood Space, 171 Union Street, Bankside, London, SE1 0LN
‘The Grantchester Pottery paints the stage’ is the 20th exhibition in the Jerwood Visual Arts’ Encounters series, a programme of one-off exhibitions which seek to encourage conversations and analysis through the exhibition-making process. Review by Kathryn Lloyd.
MOT International, 72 New Bond Street 1st Fl., London, W1S 1RR
John Russell’s second solo show, 'AQUARIUM PROLETARIUM' with MOT International continues to disrupt the boundaries between language and image through an immersive and multi-sensory installation, punctuated with darkly humorous images and philosophical references. Review by Zoë Marden.
The Douglas Hyde Gallery, Trinity College, Dublin 2, Ireland
Maeve Connolly speaks to artist Niamh O’Malley about her current exhibition at The Douglas Hyde Gallery, Dublin, affirms her ongoing interest in the processes through which images are constructed, revealed and obscured, and her continued capacity to estrange apparently familiar objects and environments.
Castello di Rivoli Museo d'Arte Contemporanea, Piazza Mafalda di Savoia, 10098 Rivoli, Torino, Italy
A major new collaboration between Sophie Calle and the Castello di Rivoli Museo d'Arte Contemporanea explores pain, intimacy and death through site-specific installations. Calle's works explore the analogy of mother|sea (madre|mare), a sea that welcomes and gathers, covers and invests emotions.
Galerie Eva Presenhuber, Maag Areal, Zahnradstr. 21, 8005 Zurich
The cast and poured paintings of Alex Hubbard become lenses through which the gallery space as well as the other paintings in the exhibition can be viewed.
New Museum, 235 Bowery, New York, NY 10002
Chris Ofili’s first museum survey in the United States debunks and transcends his unjustified and limiting reputation as an African diaspora-centric artist who once employed the medium of elephant dung. Review by Arthur Ivan Bravo
Gallery II, University of Bradford, Richmond Road, Bradford BD7 1DP UK
Past Caring is an exhibition that explicitly makes central the subject of care as an active site for ‘intellectual and political possibilities.' Review by Louise Shelley
Sprüth Magers London, 7A Grafton Street, London, W1S 4EJ
In this survey of Joseph Kosuth’s oeuvre, textual fragments, philosophical thoughts and scientific definitions manifest as illuminated signs on the gallery wall. Review by Thais Gouveia.
EOA.Projects, 40 Elcho St, London, SW11 4AT
Amal Khalaf, Co-Curator of the group show 'Never Never Land' currently at EAO.Projects, London, speaks to Sophie Risner about how the exhibition reflects on a history of political satire in the Middle East, presenting a group of contemporary works which subvert mass media formats and challenge preconception.
Tintype Gallery, 107 Essex Road, London, N1 2SL
‘Essex Road’, a collection of eight films by eight artists shown daily between dusk and 11pm at Tintype Gallery, offers an impressively thoughtful reflection on the use of film as a record of place. Karl Musson reviews.
